O-Riginal Art Activity Sam Gilliam.Docx

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Supplies: Acrylic paint, White pillowcase or cloth, and Water gun. Instructions O- riginal Art Activity: Step 1: Gather your supplies. Find some clothes to wear that you won’t mind getting dirty or wet. Super Soaker Painting Inspired by Step 2: Find an area in your backyard where you Sam Gilliam can freely paint with the water gun and it’s okay to get messy. Ask your parent or guardian. Hang the pillowcase up, this will be your canvas. Step 3: Take a good look at Sam Gilliam’s Drape Work. You can see a variety of colors as well as the depth created by the draped canvas. If you look at the overall shape of the draped canvas, it creates an abstract form. How will you use color to create an abstract painting? Step 4: Use a few containers to mix different color paints with water. Have your parent or guardian fill up the super soaker with your first color. Sam Gilliam, Drape Work (detail), 1970, Acrylic and dry Step 5: Now it’s time to get creative! Where on the pigment on canvas. pillowcase will you start to spray the water gun? Sam Gilliam is an African American artist that Remember Sam Gilliam focused on how he applied works in color field painting and lyrical abstraction. the paint to his canvas. How will you use the water gun to paint the pillowcase? Use the water gun to Gilliam lives and works in Washington D.C. He was apply your first color. a pioneer of Black Abstraction during the 1960s, a time when Abstraction was considered “irrelevant to Step 6: Remember to wash out your water gun Black African Life.” Around 1965, he joined the when changing colors by taking clean water to fill it Washington Color School movement which focused up and pushing the water back out. Make sure that on creating paintings on a large scale with color you are focusing on creating something without a fields. Paint was often applied through a pouring shape and that you are focusing on creating color process that resulted in a stained effect without combinations like Sam Gilliam. brushstrokes. Gilliam is recognized as the first artist Step 7: After you have finished adding all the colors to introduce the idea of the unsupported canvas, a you would like, let the pillowcase dry. painting without stretcher bars. Step 8 (Optional): Once the painting has dried, SEE SAM GILLIAM’S DRAPE WORK IN THE create an abstract form by draping the pillowcase in PERMANENT COLLECTION AT OGDEN MUSEUM. different ways. CHECK OUT THE O BLOG FOR MORE Vocabulary RESOURCES! Abstract - an artwork that is composed of shapes QUESTIONS? EMAIL and colors. [email protected] Depth -- Objects appear closer or farther away and make a two-dimensional image seem Note: Complete this activity with the permission of three-dimensional a parent or guardian. Form -- A three-dimensional volume or the illusion of three dimensions as it relates to shape. Color field paintings -- use very large areas of flat, solid color on a canvas or on other surfaces. .

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D. Wigmore Fine Art, Inc
OUR POSTWAR FOCUS: THE 1960 s-1970 s Richard Anuszkiewicz Frederick Hammersley Sam Gilliam The 22 works in this exhibition reflect the gallery’s focus on the artists of the 1960s-1970s who participated in the inter - national debate on the course of abstract painting after Abstract Expressionism. This debate was framed by two major exhibitions: Clement Greenberg’s 1964 exhibition Post-Painterly Abstraction at the Los Angeles County Museum of Art and William Seitz’s 1965 exhibition The Responsive Eye at the Museum of Modern Art. Post-Painterly Abstraction took from Abstract Expressionism its large format and added open compositions with expan - sive, flattened planes of color, or “color fields.” Clement Greenberg championed this style, favoring “staining” where artists use as little pigment as possible and let the unprepared canvas absorb the paint. Other artists within the Color Field style refused to sacrifice the even, smooth, and controlled surfaces achieved with prepared canvases. By preparing the ground of their paintings, these artists went against Greenberg’s theories. The two opposing approaches to Color Field painting are shown in our exhibition. Greenberg’s “staining” is represented by Sam Gilliam’s (b. 1933) Red Linger , 1972 and Paul Reed’s (b. 1919) 16I , 1963, while Paul Jenkins’ (1923-2012) Phenomena Maimonides Mantle , 1979 and Phenomena Sufi Procession , 1974 are examples of the free-flowing color achieved with primed canvases. In addition to Color Field painting, the 1960s saw groups of artists return to geometric compositions. In California one of these geometric groups was called the Abstract Classicists. They reacted against the emphasis Abstract Expressionism had placed on personal emotions.
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K@20 THE KREEGER MUSEUM 20TH ANNIVERSARY EXHIBITION KENDALL BUSTER WILLIAM CHRISTENBERRY GENE DAVIS SAM GILLIAM TOM GREEN LEDELLE MOE MICHAEL B. PLATT JANN ROSEN-QUERALT JOHN RUPPERT JIM SANBORN JEFF SPAULDING DAN STEINHILBER RENÉE STOUT YURIKO YAMAGUCHI FEBRUARY 20 – JULY 31, 2014 THE KREEGER MUSEUM 2401 FOXHALL ROAD, NW WASHINGTON, DC 20007 www.kreegermuseum.org K@20 THE KREEGER MUSEUM 20TH ANNIVERSARY EXHIBITION FOREWORD From the inception of The Kreeger Museum exhibition program in 1998, it has been my philosophy to present exhibitions that relate to the Museum. Past exhibitions ranged from one-man shows that included Philip Johnson, Tom Wesselmann, William Kentridge, Oleg Kudryashov and Washington artists Sam Gilliam, William Christenberry, Kendall Buster, Dan Steinhilber, and Gene Davis, to group shows with selections from the di Rosa Preserve collection of California Bay Area artists and the New York artist collective, Tim Rollins + K.O.S. Each of these exhibitions focused on a particular aspect of the Museum’s permanent collection, architecture or mission. Over the last twenty years, Washington artists have played a prominent role in the Museum’s histor y— in exhibitions, public programs, educational initiatives and outreach activities. In honor of The Kreeger Museum 20th Anniversary and to acknowledge my respect for the DC art community, I asked Sarah Tanguy to curate an exhibition of Washington area artists, each of whom has exhibited at the Museum, either in a group or one-person show. These fourteen artists represent the outstanding talent and commitment prevalent in the nation’s capital. This exhibition was made possible by the generosity of the following sponsors: Aon Huntington Block Insurance; Giselle and Ben Huberman; Frederick P.
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TWO DISCARDING THE FRAME illiam’s single most signiﬁcant and celebrated invention, the draped or suspended painting, was a major development of the post-1960 era, and one that has earned him an enduring place in the history of formalist art.1 But Gilliam’s accomplishment is much greater than that. For the sheer force of their originality, their extraordinary, shocking, and unforgettable beauty, the suspended paintings were also a sign that abstract painting and robust, hot-blooded ex- Gpression were alive and well, thriving in at least one corner of the art world despite the reigning vogue for cooler styles and forms such as pop, minimalism, and conceptual art. Moreover, the Drapes were a sign that the tradition of deeply personal, idiosyncratic, colorful aesthetic drama still mattered, even when many young artists were dismissing such work as self-indulgent in a world where radicalism and anti-institutional statements seemed to offer the only possible solutions for the oppressive ills that were being revealed in virtually all corners of American society. Any attempt to assess the value of Gilliam’s contributions to contemporary art must at some point confront the challenge of understanding what it meant for an African American to make some of the most important abstract art of the day in the midst of widespread grass-roots social and political activism—that is, at the height of the Black Power era. Gilliam’s art was drawn regularly into the fray of politically motivated discourse that seemed to divert attention from the unique qualities of his art. Most art world professionals either embraced the lack of overt political subject matter in his imagery or lambasted him for making paintings that seemed to ignore the plight of African Americans.
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